全片沒(méi)有一句話(huà)討論哲學(xué)，沒(méi)有！

但是輪椅人的死揭示了一個(gè)巨大的問(wèn)題，作為觀眾的我們也是生活的存在。

這就是一個(gè)從存在主義到虛無(wú)主義再到存在主義的超強(qiáng)反轉(zhuǎn)！

只有膜拜，沒(méi)有二話(huà)。

（豆瓣發(fā)影評(píng)怎么開(kāi)始有限制了？

讓我水他個(gè)140字

先從哪里水好呢？

就從這里開(kāi)始吧，

首先啊，這部電影啊，真的是

其次啊，我看到結(jié)局，心里真的感到

最后啊，這部電影給我留下的印象嘛

水夠了吧？）

In the Steven Spielberg movie “E.T.”, why’s the alien brown? No reason.

In “Love Story”, why did the two characters fall madly in love with each other? No reason.

In Oliver Stone’s “JFK”, why the President suddenly assassinated by some stranger? No reason.

In the excellent “Chainsaw Massacre”by Tobe Hooper, why don’t we ever see the characters go to the bathroom or wash their hands,like people doing in real life? Absolutely no reason.

Worse, in “The Pianist”by Polanski, how come this guy has to hide and live like a bomb when he plays the piano so well? Once again the answer is “no reason”.

I can go on for hours with more examples. The list is endless. You probably never gave it a thought. But all great films,without exception,contain an important element--a “no reason”. And you know why? Because life itself is filled with “no reason”. Why can’t we see the air all around us? No reason. Why’re we always thinking? No reason. Why do some people love sausages and other people hate sausages? No fuckin’reason.

Along with Quentin Dupieux’s works, we can easily found out he’s an imaginable director. His films are full of ironic plot and unnatural things. Most importantly, he always mix the reality and unreality into one scenery, it is so amazing. To be honest, this kind of style is unusual to see. He can use a normal thing like TV to transfer the time and the space. Also, the relationship among characters have not been totally logical but you still feel conventional. That’s awesome.